I think what many of the doubters who object to Angela
Hewitt's traversal on piano of Couperin's keyboard music written for harpsichord
miss is the coppery warmth, resonance, and intimacy of the plucked instrument.
Presumably, they do not feel that the brilliance, openness, greater powers of
expression, and dynamics that are gained compensate for what is lost. My
reference for this music has always been Kenneth Gilbert's harpsichord versions
on Harmonia Mundi, which I find more musically satisfying than the more recent
versions by Rousset, also on HM. (And now that I've got them on vinyl again, I
am a very happy fellow.) But I like what Hewitt makes of this music a great
deal. It has eighteenth century clarity and the piano's rich variety of sound—piano, forte and everything in between. I like her (and Periah's and Gould's)
Bach on piano too.

A harpsichord is an intimate sounding instrument; the piano
is a more public one. Couperin on the piano is larger and less closed in, which
is extremely effective for his larger moments; and the smaller moments are
eloquent because of the piano's ability to render subtle inflections. The
marvelous sonorities of the piano fill my large living room, bringing my wife
from the other end of the house to listen to Couperin as if for the first time.
Hewitt's Couperin is not better than Gilbert's, it's different. And they are
both Couperin, truly.

Here is the composer himself whom I will give the last word
on this subject:

The harpsichord is perfect with regard to its
compass and brilliance; but as one can neither swell nor diminish the
sound, I am always grateful to those who, by an art sustained by
taste, are able to render the instrument susceptible to expression.

This volume features the Third Order of Book III, closing
with selections from Books I and II. As usual, Ms. Hewitt's program notes are
superb music history. All three of her Couperin CDs are musical treasures.

So here comes Neill's favorite piano trio again, they who
can do no wrong! Yes, here they come again, with definitive performances of
Schumann, Brahms, and Beethoven, among others, in their wake. Here they come,
all with solo careers blossoming on the side, with another marvelously
convincing release from the standard piano trio repertoire.

All of their virtues as an ensemble are once again clearly
in evidence: balance, poise, and expressiveness. What we hear from them in this
outing is a Mendelssohn who is notable for clear instrumental textures,
lightness of touch, fleetness, and grace. I have heard these trios played with
more gusto, I have heard them played more ponderously; but until now, I have not
heard them played with the Florestan's sense of their possibilities for lyric
grace. This is the first time I have been quite so taken in by them, so I'm
concluding they've got them right.

There is also something downright delicious about the sound
of the instruments. Tony Faukner, longtime recording engineer for the Florestans
at Hyperion, is long gone, but clearly Simon Eadon is a worthy successor. The
Florestans have always been attractive to listen to, but as we have learned in
this field, mediocre engineering can kill the sound of instruments dead.

So, no surprises here. The news continues to be good. Add
another definitive set of performances to the Florestan's curriculum vitae.

Who needs another Beethoven Opus 18? And who are the Miro
Quartet that we should care what they think of this oft-recorded music?

Here is the first movement of Quartet No. 4: fleet,
flowing, wonderfully inflected, full of compelling dynamic contrasts which,
partly because of the fairly rapid tempo, remain within an coherently elegant
view of this music. Absolutely infectious and exciting to listen to.

Second movement: a dance, impossible not to air-conduct at
the very least—some will likely get up and dance with it. And it keeps getting
better, ebullient, full of joie de vive—all within an integrated view of the
music that expresses great respect and great affection equally for the work.

The punched up notes and jazzy visual layout that accompany
this set do it a bit of a disservice, in an apparent attempt to sell both the
music and the Miros to a young audience. I can understand why Vanguard may have
felt the need for this. Times are hard for classical music; attracting a new
clientele or justifying a new Beethoven Opus 18 to those of who already have
several is a formidable challenge.

But the truth is, this is a terrific set of performances.
The musicians have a fresh view of the music, play it wonderfully—and behold,
they have the benefit of one of the industry's leading recording engineers, Da-Hong Seetoo!

Don't let this recording slip by.

Joan Tower, Instrumental Music - Naxos

Who is the preeminent contemporary American composer? If
you say John Adams, you'd have a lot of company. If you say Oscar Golijov, you
might get more points for originality and acuteness of judgment. But I would
expect to see a few votes for a composer many of you probably don't know very
well, yet.

Joan Tower, born the same year as Adams (1938), has not
achieved anything approaching the public stature of Adams or even the generation
younger Golijov, which may account for the issuing of this musically exciting
new CD by Naxos in its very fine American Classics series. The choice of music
for the anthology is excellent, the performers (Tokyo String Quartet, Ursula
Oppens, Paul Neubauer, the composer herself) is superb, and the sound, via
recording engineer Da-Hong Seetoo, is state of the art digital.

Bob Neill, in addition to being an occasional equipment
and regular music reviewer for Positive Feedback Online, is also
proprietor of Amherst Audio in Amherst, Massachusetts, which sells equipment
from Audio Note, Blue Circle, Manley Labs, and JM Reynaud, among others.